Pictorial Composition and the Critical Judgment of Pictures

by Henry Rankin Poore

The first of these forms was evidently most esteemed by Claude, for his greatest works are thus conceived: “Cleopatra Landing at Tarsus,” [“The Embarkation of the Queen of Sheba,”]. “The Flight into Egypt,” “St. Paul leaving Ostia,” “The Seaport with the Large Tower” and others. In all of these the light proceeds toward us through an avenue which the sides create. Under this effect we receive the light as it comes to us. In the other form the vision is carried into the picture by a series of mass attractions the balance being less apparent. “The Landscape of the Dresden Gallery,” “The Marriage of Isaac and Rebecca,” “The Finding of Moses,” “Egeria and Her Nymphs,” and “Driving Cattle to the Meadows,” [pg 165] together with many etchings, are based on the second form. In all these about one third of the picture is put into shadow, a great right angle being constructed of the vertical mass and the shadow which it casts, generally across the entire foreground.

In [“The Travel of the Soul”] by Howard Pyle, reproduced from the Century Magazine, is remarkably expressed the fullness of quality resulting from these few principles. The force of the light is increased first by juxtaposition with the deepest dark merging so gradually into the darkness behind as to become the end or culmination of the great gradation of the background. As in many works by the older masters the source of light is conceived within the picture, so by its issuance from the inward of the wing, the valuable principle of radiation has resulted, the light passing upward through the wan face behind to the crescent moon and below through the sleeve and long fold of the dress to the ground. On the side it follows the arm disappearing through the fingers into the shadow.

Beyond this circuit lies the great encasement of another gradation darkening toward the sides and corners. This has been interrupted by the tree masses and sky of the upper side, as the idea of radiation was changed on the left by the oppositional line of branch forms. In the other pictures of this remarkable series may be found three distinct type forms of composition.

Together they set forth the structure of the circle or ellipse, the letter S or line of beauty, [pg 166] the triangle, and the cross. The one before us discloses a triangle or letter V, on which the figures compose, within a triangle formed of the rock fracture and path.

It must be remembered that the effort of the artist is to secure light in the degree which his subject demands. There are many degrees of light and they must not be confounded. The light of a lantern is not sufficient illumination for an effect under gas and a window on the north side won't do to call sunlight into a room upon a posed figure. The fault of many pictures is that the proprieties just here are violated. Some of the lowest toned interiors of Israels are satisfactory when judged from the standpoint of light, while out of door attempts in high key fail to suggest the fact of a sun in nature. The fault is that the exact degree of illumination which the subject demands is not present.

There may be a greater feeling of light in a figure sitting in the shadow than in the same figure next to a window.

To the painter, light and air are but degrees of the same idea. If the figure seated in the shadow is well enveloped and relieved by the exact temper of reflected lights, it takes its place in his scheme of brilliant lighting as much as any other part.

The purpose of shadow is first to produce light, second to secure concentration, third to dismiss space not required and incidentally to suggest air and relief by the gradation which every shadow must have.

The idea of Notan, or the Light and Dark [pg 167] combination of Japanese art, differs from this in its intent, which is merely to set forth an agreeable interchange of light, dark and medium toned spaces. To the decorative intentions of the oriental artist natural fact is of small concern and the fact of shade produced by light is dismissed as are many other notions which are non-conformable to his purpose. The great value of this concept, however, should be recognized, and in formulating a scheme of light and shade for any picture its light and dark masses may be so arranged as to suggest much of the beauty which its flat translation by Notan would yield. The practice of laying out the flat light and dark scheme of every picture which is to be finished in full relief is therefore most helpful, and directly in line with Sir Joshua's habit with the old masters.